This creative solo outing from half of the acclaimed rap duo OutKast is a strong contender for hip hop album of the year. Guests include Gucci Mane, T.I., and Janelle Monae (whose own acclaimed 2010 album features an appearance by Big Boi).

What the critics liked: The disc boasts strong production and writing, and it's as intriguingly unconventional and varied as anything released by OutKast, simultaneously working well as a complete front-to-back listen (even for people not normally fans of rap) and as club or party music. It's also superior to most other recent rap releases, while managing to be an improvement over the well-received Speakerboxxx (in effect, Big Boi's previous solo album).

What they didn't: Critics found few things wrong with the disc, though Slant thought that he could have broadened his lyrical focus away from himself a bit.

Let's face it: It is unusual to find the 70-year-old Welsh crooner on our Best New Music list, but here he is with an album of stripped-down gospel covers produced by Ethan Johns.

What the critics liked: There are lots of comparisons to Johnny Cash's adventurous later albums produced by Rick Rubin. The songs are filled with emotion, and Jones comes across as a true artist with a still formidable voice.

What they didn't: Some critics missed the less serious, more fun Jones, while others questioned the song selection (especially compared to Cash's more ambitious choices) and the too-somber production.

The under-the-radar Manchester trio fronted by John Bramwell returns with a fifth album, produced by Elbow's Guy Garvey and Craig Potter.

What the critics liked: It's one of their strongest collections of songs, filled with bittersweet tales of regret and heartache set to melodic, warm, and elegant music.

What they didn't: Clash Music feels that the new disc shows little development compared to previous efforts.

The first album in five years for the collage artists combines live instrumentation and singing with samples culled from over 4,000 discarded tapes found in thrift shops and similar places.

What the critics liked: The disc is an inventive, enjoyable listening experience with a broad emotional range and wealth of ideas, and knowledge of how it was created is not necessary to appreciate the album.

What they didn't: Several critics compared the new album unfavorably to previous Books discs, and some of the tracks are a little too jokey and/or insubstantial.

Perhaps the strongest record yet for the Miami rapper, this fourth album includes contributions from a star-studded roster of MCs and singers, including Jay-Z, Kanye West, Cee-Lo, John Legend, Drake, and Ne-Yo.

What the critics liked: It sounds terrific, thanks to strong production from the likes of J.U.S.T.I.C.E. League and No I.D. Multiple critics compared Teflon Don to an epic summer movie blockbuster, with The A.V. Club adding that it's a "perfect summer party album."

What they didn't: The flashy, extravagant album offers more style than substance, and Ross' lyrics sometimes let him down.

Much of this instrumental fifth album for the German-born composer and producer (who has collaborated with electronica artists such as the Future Sound of London and Roni Size) originally served as the score to a ballet based on T.S. Eliot's The Waste Land.

What the critics liked: Many reviewers were amazed at Richter's ability to evoke strong emotions from such a restrained and subdued musical palette, and the album is highly accessible and listenable despite its experimental nature and original purpose.

What they didn't: Some critics found it overly familiar and not interesting enough, though they were in the minority.

The California-born folk singer-songwriter (a one-time nanny to Tom Waits' children) recorded this second album after moving to England. This month's U.S. release adds five tracks to the original album released in the UK late last year.

What the critics liked: It's an eclectic, highly rhythmic, modern, and pleasantly unpredictable version of folk, reminiscent at times of Bat for Lashes, PJ Harvey, Kate Bush, or even Waits himself.

What they didn't: Pitchfork, while admiring her charisma and talent, finds the album a bit too willfully esoteric, while Under the Radar notes the lack of a single standout track.

Crazy for You is the lo-fi but summery debut LP for the month's most buzz-worthy indie band, a Los Angeles-based duo (now trio) led by Bethany Cosentino.

What the critics liked: The breezy, reverb-heavy, wall-of-sound-style songs create an excellent soundtrack to summer, the sadness and longing in the lyrics add some depth, and the album is superior to recent efforts from similar groups like Vivian Girls.

What they didn't: Dusted dismissed the album as banal and pointless, while other reviewers found it a little too simple and one-dimensional, and lyrically uninteresting.

The third album (not counting a brief instrumental disc) from the quirky Portland, Ore. indie rockers continues their unconventional approach to songwriting, instrumentation, and structure while toning down their hyperactivity a bit.

What the critics liked: The production is especially strong; it could be their best-sounding record yet. The album is cohesive and more emotionally gripping than past efforts.

What they didn't: Some critics felt that the album was lacking the hooks and consistently strong tracks present on Friend and Foe, while others weren't always fond of Menomena's new lower-key approach.

The pop artist's fifth album offers a dancefloor-ready mix of upbeat, electro-heavy tracks like lead single "Acapella."

What the critics liked: Though it is unlike her previous releases, the club-friendly sound of Flesh Tone won over many critics, who admired its ability to sample a wide range of dance music styles while still retaining Kelis' personality and vision.

What they didn't: Several reviewers complained that the album sounds dated -- or, at least, too mainstream and unoriginal -- while it's also a bit on the short side.